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Contributor

Sharon O’Connell has spent more decades than she cares to count listening to, arguing over and writing about music. She worked for five years as reviews editor...more »

09.02.14

Blonde Redhead, Barragán

2014 | Label: Asawa Kuru LLC / AWAL

Considering Blonde Redhead’s art-punk pedigree, their 2010 album Penny Sparkle was a bold move. Unfortunately, it had them sounding like nervous bliss-pop voyagers adrift on a sea of vaporous synths — so perhaps it’s no great surprise that with Barragán (named after the late, Mexican modernist architect Luis Barragán), the NYC trio set out “to make something timeless and pure and perhaps a little minimalist.”

Touchingly tentative, but never timid, their latest is the sound… read more »

Contributor

Sharon O’Connell has spent more decades than she cares to count listening to, arguing over and writing about music. She worked for five years as reviews editor...more »

09.02.14

Blonde Redhead, Barragán

2014 | Label: Asawa Kuru LLC / AWAL

Considering Blonde Redhead’s art-punk pedigree, their 2010 album Penny Sparkle was a bold move. Unfortunately, it had them sounding like nervous bliss-pop voyagers adrift on a sea of vaporous synths — so perhaps it’s no great surprise that with Barragán (named after the late, Mexican modernist architect Luis Barragán), the NYC trio set out “to make something timeless and pure and perhaps a little minimalist.”

Touchingly tentative, but never timid, their latest is the sound of seasoned vets surrendering to the studio moment and finding themselves fully charged by a new, carpe diem confidence. It’s there in the opening title track, which is built from bird song, flute, fingerpicked guitar and the soft whoosh of distant traffic. “Barragán” not only establishes a mood, but is also a statement of Blonde Redhead’s intent, introducing an intimate set that fizzes with the kind of energy only ditching a safety net can generate.

To achieve this feeling, the band chose to record “live” in the studio, as a full ensemble, and to use analog acoustic instruments. These changes allow the silken-voiced Kazu Makino to ad lib with sweet ooh’s and aah’s in “Can on Tin Roof,” as Amedeo Pace’s guitar slips into funky time-marking, his slight uncertainty a vital part of the song’s allure. The band’s hesitation about where to steer the motorik drive of “Mind to be Had” is almost audible (toward Berlin-era Bowie, as it turns out), and the extraordinary “Defeatist Anthem (Harry and I)” switches from dream-pop lament to alt-folk to drone, complete with didgeridoo. You can hear these decisions being made in real time on Barragán, and it is thrilling. It might be their ninth album, but Blonde Redhead’s horizon has just broadened afresh.

'dreamy' can also mean sleepy

This release has too little drive and direction for me. They sound and seem sincere about the material, but the material just floats in gossamer threads, never really connecting enough to make this release worthy of their vital portfolio.

Barragan

I've been collecting music for over 35 years now and am thankful for talented musicians such as these! My first time hearing Blonde Redhead was when I tripped over "Dripping" on a cmj compilation download - thanks for that introduction emusic and thanks for having this album available here. I have the player set to loop and am enjoying it thoroughly - cat on tin roof? can't help but smile through the entire track. Really looking forward to listening to the band's previous releases!